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<p class="MsoNormal"><span style="font-size:11.0pt">The Screen Studies Association of Australia and Aoteaora New Zealand (SSAAANZ), in association with Massey University, present:<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">The Materials of Screen Media<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">30 November - 2 December 2022<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">'Materialism,' 'materials,' 'materiality,' 'matter': for scholars in screen and media studies, is there anything these terms can't do? They shape our common critical vernacular, from references to 'source
material,' to discussion of 'subject matter.' They also sustain a range of approaches to screen media - from cultural materialist frameworks (Garnham; Williams), to theories of the cinematic apparatus (Baudry; Hanich; Pedulla; Straw; Elsaesser), and from film
and TV exhibition histories (Friedberg; Griffiths; Schwarz; Spigel; Szczepaniak-Gillece) to indigenous approaches to media materiality (Hokowhitu; Miner; Smith) and studies of screen production and distribution (Holt and Perrin; Mayer, Banks and Caldwell;
Cunningham and Silver; Lobato). In fact, across the past two decades, screen and media studies has undergone what a number of critics have identified as a full-scale 'material turn' (Herzogenrath; Mitchell). Among scholars associated with this turn, the 'material'
betokens, variously, the infrastructural underpinnings of screen media (Parks and Starosielski), the raw geo- and biophysical resources that feed screen media (Bozak; Cubitt; Maxwell and Miller; Parikka), the audiovisual technologies of screen media (Dourish;
Gittelman; Kittler), the material cultures of screen media (Benson-Allott), the affective flows of the technologically mediated bodies that experience screen media (Kavka; Marks; Sobchack), and screen media's unique ontology (Arsenjuk).<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">The SSAAANZ 2022 conference, hosted online by Massey University between the 30th of November and the 2nd of December 2022, will both take stock of existing uses of terms like 'materialism,' 'materials,' 'materiality,'
and 'matter' in screen studies, and open up these terms to new applications. We invite contributions that push the rubric of 'materiality' in novel critical directions, as well as those working within existing 'materialist' traditions, from media industry
studies, to affect theory, to infrastructure studies. We especially encourage reflexive thinking across these traditions. Why have we returned so frequently to a metaphorics of materiality in our efforts to understand how screen media work, what screen media
are and why screen media matter to us? What is the relationship between Williams's 'cultural materialism' and Latour's 'matter,' or between Caldwell's 'material practices' and Sobchack's material body? And how might the rise of digital and algorithmic media
transform our understanding of the screen media's 'material' base?<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">Keynote Speakers:<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* Caetlin Benson-Allott (Georgetown University)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* Olivia Khoo (Monash University)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* Alice Lovejoy (University of Minnesota)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">Guest Filmmakers:<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* Sari Braithwaite, director of "[CENSORED]" (2018)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* CIRCUIT artist and curator Mark Williams<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* Heperi Mita, director of "Mereta: How Mum Decolonised the Screen" (2018)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* Tiriki Onus and Alec Morgan, co-directors of "Ablaze" (2020)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">Papers may address, but are not limited to, the following themes:<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* Materials on screen/the matter of images<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* Screen media agencies, industries and institutions<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* Production studies and media industry studies in Australia, New Zealand and beyond<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* The crafts of film and television production and their materials: production design, costume design, set and props construction<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* The materiality of the production and post-production workflow: shooting, editing, animation, effects<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* The material cultures of screen media consumption<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* Film preservation and archiving<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* Screens and the built environment<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* Indigenous approaches to and perspectives on media and materiality<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* Sizes, shapes and textures of screens<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* Film stock: histories, politics, aesthetics<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* The practices, spaces, and networks of media distribution and exhibition<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* 'Old' materialisms: Marx, Adorno, Williams<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* Class and stuff/the stuff of class<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* Media archaeology<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* Film and television affect<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* Resource media: carbon, sunlight, plastic<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* Materialisms 'old' and 'new' in critical conversation<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* Media and/as the environment<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* Dead media<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* Film and media infrastructures: server farms to undersea networks<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* The stuff of bits: spreadsheets, databases, networks<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* 'German' media theory in Australasia<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* New materialism and media: speculative media, object-oriented media<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* Digital materialisms<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">We are inviting proposals for sessions of four kinds:<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* Individual presentations: we ask that presenters pre-record presentations of 7-15 minutes long so that they can be made available online ahead of the panel session itself, which will be dedicated to discussion
and Q&A.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* Pre-constituted panels: these proposals should include an overarching rationale as well as proposals for 3-4 individual presentations (of 7-15 minutes long). Again, we ask that presenters pre-record their
presentations so that they can be made available online ahead of the panel session itself, which will be dedicated to discussion and Q&A.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* Roundtables: discussions on a scholarly topic led by a chair and 3-5 speakers. Each speaker should present for up to 5 minutes on the topic. A roundtable conversation will then ensue, after which the session
will be opened up to the audience.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">* Seminars: participatory sessions led by 1-2 seminar leaders, with up to 8 participants and an audience of auditors. Seminar leaders will invite participants to undertake preparatory tasks that will be shared
prior to the conference and discussed during the seminar session itself.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">Please visit the conference website at http://www.ssaaanz2022.com/ to submit your proposal. Proposals for presentations at the conference must be submitted by midnight (NZST), 30 May 2022.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">Please note that this conference will take place primarily online to ensure accessibility and provide certainty in the current climate.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">While the main conference will take place between the 30th of November and the 2nd of December, we will be holding an online pre-fix event for postgraduate students and early career researchers on the 29th
of November. More details regarding this event will be announced nearer the date.<o:p></o:p></span></p>
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